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The Glamour of Italian Fashion: Since 1945 Free FREE THE GLAMOUR OF ITALIAN FASHION: SINCE 1945 PDF Sonnet Stanfill | 288 pages | 23 Mar 2015 | V & A Publishing | 9781851777761 | English | London, United Kingdom The Glamour of Italian Fashion by Sonnet Stanfill Milanese ready-to-wear is a relative newcomer to the fashion world, compared to Parisian haute couture and London tailoring, but how did it achieve its status? The dresses, suits, separates and accessories that fill this large exhibition cover a year period. The show is not designed to be encyclopaedic, but The Glamour of Italian Fashion: Since 1945 to reveal the stories behind the glitz. Fashion show in Sala Bianca Photo by G. Evening dress of silk —8Roberto Capucci. Another highlight The Glamour of Italian Fashion: Since 1945 this section is the paisley coat made for Maria Callas by Biki. The American market allowed Italian fashion to expand, contributing to the s shift from haute couture to ready-to-wear, and from Florence to Milan. Some of these, for example Elio Fiorucci, are still household names in UK fashion, while the show shines new light on lesser-known figures such as Walter Albini. A great strength of the exhibition is the presence of material samples and original designs alongside finished pieces, which give a greater insight into the creative process. Silk from Como, leather from Tuscany and wool from Biella are internationally recognised. The room dedicated to the s ready-to-wear shows the role these played in the industrialisation of Italian fashion. While Matteo Renzi, the Italian Prime Minister, The Glamour of Italian Fashion: Since 1945 felt at home in this exhibition due to the amount of material on loan from Florence, one hopes that the focus on the Italian fashion industry may encourage some measures to support young Italian designers who could join the ranks of those exhibited here. Review: Made in Italy, ‘The Glamour of Italian Fashion’ at the V&A | Apollo Magazine Next page Embroidered lace,Prato Textile Museum archive. This is not the first time Italy has engaged with the craft cultures of elsewhere. Established inBottega Veneta was bought. Maier launched the intrecciato bag, named after a leather-weaving technique invented at the firm in the s. However, she is right to question the assumption that craft always represents a good production model, particularly when it leads to strategies that undermine the ethical associations of the artisanal workshop — an unsavoury reality Ross and others have unmasked. He then bends down and opens three drawers in turn, the first filled with meticulously arranged ties, the second and third containing well-folded shirts. Particularly interesting in cinematic terms is that in this shot, the focus is definitely on the clothes and not on Julian. We are meant to notice them. Julian picks out four silky shirts and lays one on top of each jacket. This time the low-angle shot draws our attention to him and his bare chest as he briefly but thoughtfully peruses his options, before he returns to the drawer of ties and takes out four of them, moving to the music as he proceeds to likewise drop them on to the bed. After a quick close-up of Julian, the image switches to a tight tracking shot along the potential outfits: sensuously lit folds of neutral, earth-toned fabric. Gere looks down as he rearranges the ensembles slightly, smiles with satisfaction at his final selection and walks away, after which there is a sharp cut although the song continues uninterrupted to a shot The Glamour of Italian Fashion: Since 1945 him fully dressed, tying his shoelaces. Why did this moment of casual narcissism become one of the iconic sequences in the history of the relationship between fashion and film? Gere in American Gigolo, The Glamour of Italian Fashion: Since 1945 his coordinated sets of unstructured suits, silk shirts and matching ties, essentially puts on display the Armani capsule wardrobe of the era. In the early s, footwear designer Salvatore Ferragamo moved to Hollywood, having already opened a The Glamour of Italian Fashion: Since 1945 in Santa Barbara a few years previously. He was hired to make boots for Westerns produced by the The Glamour of Italian Fashion: Since 1945 Film Company, in addition to working on D. Inbuoyed by his success in Hollywood, Ferragamo was able to open the Hollywood Boot Shop on Hollywood Boulevard, before returning to Italy in to settle in Florence. He continued to design shoes for the rich and famous, among them Marilyn Monroe. Another Italian atelier associated with making some notable incidental or one-off items for Hollywood was Sorelle Fontana. Previous page Man in a grey suit on a bicycle, Milan. Photograph by Scott Schuman. The Sartorialist, Ornella Kyra Pistilli affirmed this in her recent critique of the Italian fashion industry and the perception of its fall from grace: Style makes an invisible grace visible. Style is a magic act. This is why it is so powerful. And this is why it is taken so seriously. It is time to come out of the The Glamour of Italian Fashion: Since 1945 views of the dominant economic model, of the marketing offices, the logo obsession, and to return to the street — the source of sociality, lifestyle, taste. It is time to return to the street to listen to the deafening noise of codes and translate everything into design. Street Style The theatre of the street was certainly the space in which the tenets of a distinctive post-war Italian dandyism were first played out in the s, when the modern Italian fashion industry was taking shape. As discussed The Glamour of Italian Fashion: Since 1945 earlier chapters The Glamour of Italian Fashion: Since 1945 this book, American financial support administered through the Marshall Plan of the late s ensured that the struggling textile factories of the north had access to adequate capital and raw materials. As this process of political and economic reconstruction continued, Italian manufacturers and consumers also embraced an American idea of modernity, filtered through film, television and magazines, which promoted the positive aspects of a consumer lifestyle. A popular appetite for accessible luxury and new employment opportunities in the regions around Milan drew peasant workers from the south, and this movement of labour, expanding aspirations and sudden The Glamour of Italian Fashion: Since 1945 in taste joined forces with the distinctively glamorous, sometimes decadent, values of elite Italian society to transform the cultural landscape of the country. It was a shift that affected both the macroeconomics of the fashion industry and the more intimate discourse of the fashionable male body. Those small family firms of the Veneto and Emilia-Romagna, which made up a significant element of the Italian manufacturing sector known as the Third Italy alongside luxury tailoring and accessories companies including Brioni, Gucci, Gruppo Finanziario Tessile and Ermenegildo Zegna, found themselves in a prime position. Their traditional promotion of exquisite craftsmanship, together with a willingness to The Glamour of Italian Fashion: Since 1945 to the new context of mass marketing and innovation, meant they were well placed to meet the challenges of rapidly shifting. In the aftermath of the Second World War, the cards of the international game of fashion were reshuffled. Although Parisian haute couture was still the undisputed and dominant influence of Western fashion, the French fashion industry had to rebuild its image and its business connections after the German occupation from toand other countries, in particular Italy, were offered new opportunities to step into the limelight. The war had disrupted the aesthetic and economic balance that had shaped and regulated the international fashion market until then. It had also significantly affected the relationship between Paris and the United States, the country where new designs were in the greatest demand at the time. Oriented towards mass production, the formidable American fashion industry was eager for new trends and constantly in search of new partners and suppliers, as Bettina Ballard noted in her autobiography, In My Fashion I very soon found, along with the post-war travel-starved buyers and the fashion press, how pleasant it was to travel on an In order to achieve this goal, however, Italy was not only required to reconstruct its own fashion industry, but also to redefine the cultural implications The Glamour of Italian Fashion: Since 1945 a system that played a pivotal role in the relationship between producer and consumer — the The Glamour of Italian Fashion: Since 1945 of style as the merging of individual drives, collective attitudes and representations of national identity. When Italy started on its path of The Glamour of Italian Fashion: Since 1945, independence. Below Simonetta dresses designed for international travel. Photograph by Pasquale De Antonis. Bellezza, June Photograph by Pasquale de Antonis. Bellezza, July—August Opposite right Ferragamo advertisement. British Vogue, April By imbuing her new language of fashion with a Renaissance aura, she also wanted to boost the sense of national identity through style. This idea was also promoted in fashion magazines, which depicted Italian fashion and Italian culture as sharing the same vital core of national creativity. On the one hand, Sorelle Botti — a fashion house established in in Rome by two sisters, Augusta Carlotta and Fernanda Botti — and Marta Palmer, the Milanese designer and dressmaker, embodied the best examples of the coexistence of French and Italian models. The latter. Although still in their early years of their careers, the three Fontana sisters, who founded their fashion house in Rome inwere already engaged in the representation of Italian high fashion and craftsmanship. Here essays from experts working in the UK and Italy reveal the inspiration, reputation and craftsmanship of the Italian fashion industry.
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